top of page


Press
In The News
Alberich in Siegfried (2024), La Monnaie de Munt
"Scott Hendricks reprend le rôle d’Alberich. Vêtu de son uniforme noir, en collaboration avec Wotan, il incarne la fureur et le désir de vengeance: des sentiments qui imprègnent profondément son interprétation. La voix vibrante aux tendances baroques du chanteur apporte un timbre cuivré et une vélocité précise, les aigus sont brillants et les graves bien mats.”
Olyrix - Soline Heurtebise
The Traveller in Death in Venice (2021)
Opéra national du Rhin
“The standout performance, however, was delivered by Scott Hendricks, who wheeled through his character’s seven different incarnations with a fiery mix of elegance, style, and sheer commitment. Both vocally and physically, his range of transformations was quite astonishing, from the Elderly Fop’s falsetto wheedling to the burlesque seductions of the Leader of the Players. The combination of his smooth, fluid baritone with his no-holds-barred character interpretations was very impressive.”
Bachtrack – Elodie Olson-Coons
Gleby in Siberia (2022)
Bregenzer Festspiele
“Ma è il baritono texano Scott Hendricks che supera tutti con l’interpretazione tagliente e quasi spaventosa del “cattivo” Gleby, portando il pubblico a provare un autentico scossone di fronte ai tali immoralità, cattiveria e sarcasmo. La voce di baritono solida e ben sonora, perfettamente affinata, è fenomenale per quanto riguarda l’espressività: insomma, un'interpretazione da brivido. Un ricordo di carattere personale: nel 2008, quando sul palcoscenico lacustre del Bregenzer Festspiele fu rappresentata la Tosca chiamata in modo informale “dall’occhio blu”, con il baritono Peter Sidhom nel ruolo del barone Scarpia, forse il più sporco, il più sadico della storia, alla fine della recita capitò di sentire dei ragazzi dichiarare che Scarpia “is a very bad boy”. Riteniamo che Scott Hendricks riguardo la cattiveria abbia superato alla grande quel “very bad boy” e meriti il titolo “the greatest bad boy”.”
L'Ape musicale - Irina Sorokina
Kurwenal in Tristan und Isolde (2022)
Opéra national de Lorraine
“Le Kurwenal de Scott Hendricks se situe dans la juste tradition, voix de baryton ferme, bien timbrée, compagnon fidèle de Tristan.”
Olyrix - José Pons
Title Role in Falstaff (2022)
Komische Oper Berlin
“Scott Hendricks ist ein Bariton der Spitzenklasse mit unfassbar vielen Stimmfarben und einer enormen Bewegungsfreude und Bühnenpräsenz, dem man den erfolgreichen Fernsehkoch unbesehen abnimmt.”
Das Opernmagazin
Title Role in Rigoletto (2023)
Utah Opera
“Vocal versatility characterized Scott Hendricks’ portrayal of Rigoletto. Within the same scene, his voice could sound sardonic, menacing, and plaintive. It was particularly affecting as he pled desperately with the courtiers to release his daughter, the high register of his baritone range dripping with pathos. Then, when they released her, he switched back to a mocking and cynical tone, trying to show that he was not offended by their ”joke” of kidnapping her.”
Utah Arts Review - Rick Mortensen
Kovalev in The Nose (2023)
La Monnaie de Munt
“De la distribution, tout à la fois très nombreuse et extrêmement homogène, se distingue Scott Hendricks, excellent Kovaliov tourmenté, désespéré, grincheux, agressif, dont le beau baryton se déploie avec aisance dans une prestation alliant parfaitement la qualité du chant à l’efficacité scénique.”
Première Loge, Stéphane Lelièvre
Alberich in Das Rheingold (2023)
La Monnaie de Munt
“Scott Hendricks made a mighty impact as Alberich, rising to the vocal demands of the role while expressing its pain, anger, and humiliation with astonishing physicality – his curse will long remain in the memory.”
Opera - Nicolas Blanmont
Carlo in Nostalgia (2024)
La Monnaie de Munt
“Scott Hendricks…Son chant est beau, soutenu et il incarne avec beaucoup de justesse l’âge mûr d’un révolutionnaire impétueux que sa trahison obsède.”
Cult.news - Helene Adam
The Official in Hold Your Breath
Bregenzer Festspiele
“Kenntlich bleibt einzig – und das liegt an seinem Kostüm, Scott Hendricks, MC mit choreografischer Kompetenz, ein Bariton, der bereits 66 mal auf der Seebühne zu sehen war und der das Publikum stimmgewaltig und bühnenpräsent dirigiert.”
Zeitschrift für Kultur und Gesellschaft - Ingrid Bertel
bottom of page